As an artist or freelancer working (on a paid or voluntary basis) in certain environments – such as running workshops in schools or with vulnerable adults – requires you to undertake a check by the Disclosure and Barring Service (DBS). Educator Sarah Blaszczok explains why a DBS check is needed, how to get one, and the costs involved.
Practical Guides - Page 2 of 3 - a-n The Artists Information Company
Created specially for the Paying Artists Campaign by artist Dan Thompson, the Artist-Led Manifesto sets out the principles of fair payment for artist-led groups and collectives who may be in receipt of public funds, but who may also operate without funds at the directive of the artists involved.
a-n/Artists Council’s Exhibition Payment Guide calls for written confirmation in the form of a contract or letter of agreement. This quick guide outlines the essential ingredients of a contract, gives guidance on what form a contract should take, and offers tips on negotiating and agreeing contractual arrangements.
Primarily aimed at self-employed artists, this guide sets out why people should be considering a pension or retirement plan and offers advice on a number of different choices that are available.
Artists on low incomes may be able to apply for Child Tax Credit or Working Tax Credit. This guide offers advice on eligibility and how to apply.
If you are an artist or arts organisers who earns income from a variety of sources, self-employment is usually a good option as it enables you to work for many different people and perform more than one type of work. This guide by financial services experts Counterculture explains what self-employment means, how to register as self-employed, and how and when you will need to pay tax.
Universal Credit is a new benefit that is designed to support people who are on a low income or out of work. This guide by financial services experts Counterculture explains how Universal Credit is calculated and how it may impact those who are self-employed.
This guide lists UK arts councils whose role is to support, encourage and enable arts activities nationally and regionally and to widen public participation in the arts.
Getting paid a fair fee is not suggestive of a revolution. So why does it sometimes incur resistance, both from those who pay and from ourselves? This guide by Rod McIntosh introduces ideas towards getting paid what you want and indeed deserve.
In an ideal world you would only embark on projects where there is sufficient funds available. This guide by Rod McIntosh outlines an approach to finding workable compromises whilst maintaining quality for times when money is tight.
This guide by Sheena Etches and Nicholas Sharp outlines issues and practicalities to be aware of when negotiating and agreeing a contractual arrangement.
A contract is an agreement between two or more people that is legally binding. It can be verbal or written. This guide by Sheena Etches and Nicholas Sharp outlines the essential ingredients of a contract, offer and acceptance, and implied terms.
This guide by Sheena Etches and Nicholas Sharp looks at how to handle contractual disputes, and how to terminate or re-negotiate contracts.
Although a contract need not be in writing to be legally valid, the advantages of having a signed written contract usually easily outweigh the risks of not having one.
The following checklist by Sheena Etches and Nicholas Sharp covers many of the issues that arise when artists enter an arrangement with a private gallery, dealer or agent.
This checklist by Sheena Etches and Nicholas Sharp covers many issues relevant to small-scale private and public art commissions, with questions to consider and further explanation of issues arising in the notes.
Guide to the Artist’s Resale Right Regulations 2006.
A purpose-built legal framework and ‘brand identity’ for social enterprises that want to adopt the limited company form, the Community Interest Company organisational structure has also proved popular in the arts and charity sectors.
An overview of the current Age Discrimination law in Great Britain under the Equality Act 2010, followed by a set of action points for arts employers, and guidance for individuals who might want to challenge a decision or a practice.
Most professional artists will occassionally need to seek legal advice about some aspect of their practice. This guide by Rebecca Farley signposts key sources of legal advice and information.
This guide by Nicholas Sharp looks at the different types of legal structures that can be used when setting up an organisation, and the implications of each.
Fundraising is a competitive activity. This guide by Lisa Le Feuvre introduces the main funding sources and offers guidelines to help make winning funding applications.
For this video guide, Katy Beale and Charlotte Frost discuss micro-blogging with particular reference to Twitter and how it can be used for research, marketing and collaboration, plus a look at how artists are using Twitter in innovative ways that connect with their practice.
For this video guide, Chris Unitt of Meshed Media talks to Charlotte Frost about different blog platforms, getting the most from a blog, and some of the creative and innovative blogs around.
A guide for artists and arts organisers to creating a mutually-beneficial relationship.